Classical music Video clip of Thomas Georgi from Tafelmusik Ensamble playing Classical music on Viola D'amore

Related Videos

Telemann Viola Concerto No. 1 - David LloydDavid Lloyd (viola) with the 'Orquestra das Raizes Ibericas' (Maestro Jose Atalaya's young Portuguese string orchestra) performing the first movement (Largo) of the Telemann viola concerto during a concert which took place at the Centro Cultural de Cascais, Lisbon, on the 31st of March, 2007. Richard Tomes is the conductor.

Prayer from Jewish Life by Bloch for viola and guitarA PINCH OF OY, A DASH OF AHH!<br />TheLeVassor Duo:<br />Steven Rosen & Richard Goering.<br />Available at:<br />http://www.cdbaby.com/cd/rosengoering#<br />and :<br />http://www.ourjewishcommunity.org/?s=a+pinch+of+oy+a+dash+of+ahh!<br />St. Paul, Minnesota native Steven Rosen joined the Cincinnati Symphony in 1982. He was previously a member of both the Netherlands Rotterdam Philharmonic and the Israel Chamber Orchestra. He attended the Cleveland Institute of Music and is a former principal violist and soloist with the Toledo Symphony. He has participated in the Blossom and Aspen music festivals. Steven has appeared as soloist with the Cincinnati Symphony.<br />We have added some new tunes to some of the music from our first CD <br /> and they are available for digital download at:<br />http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=a+pinch+of+oy&x=0&y=0<br />and:<br />http://itunes.apple.com/us/album/a-bigger-pinch-of-oy/id385134333

Walton - Concerto for Viola - Andante Comodo - Joyalene NgConcerto for Viola (1929) <br />I. Andante comodo <br /><br />By William Walton (1902-1983) was a British composer and conductor. When commissioned to write this viola concerto he admitted to knowing very little of the viola except that it made a rather awful sound! To me this piece portrays a lyrical and melancholy mood despite its moments of dissonance. If it sounds too awful, you can blame int on Walton's perception of the viola. <br /><br />Performers: <br />Joyalene Ng, viola; <br />Cynthia Westerbeck, piano accompaniment

Gaetano Donizetti - L'elisir d'amore - "Tra-la-la-la" (Peter DvoIn Italian opera the Act One Finale seems to be the most important part of the whole evening: something very important is bound to happen just before or during the finale, so the whole finale is usually either devoted to something crucial happening between the main characters, to characters reacting to the event or, in some cases, to both things at the same time. Moreover, the emotions usual run very high with lower voices snarling effectively, sopranos and tenors brandishing high Cs and coloratura roulandes, the chorus and comprimarios confused, at best. The First Act Finale to "L'elisir d'amore" really isn't s break of traditon but it can claim fully its' originality of form and of music :)! Despite concert and recording practices, the present finale is actually formed out of three almost independent numbers (but they are connected into a cohesive whole): Adina's and Nemorino's second duet; the subsequent terzettino with Belcore and the finale proper (complete with the traditional "scene - andante - allegro" structure). The duettino starts after a short scene as Nemorino tries to make Adina believe that he is uninterested with her, while the latter is a bit shocked to see her faithful follower turn away from her. A classical contrasting succession of "andante - allegro" is made interesting by the fact that both movements use the same words to show the changing emotions of the characters: Adina is at first unable to understand the sudden change in Nemorino's behavior but <b>...</b>

Gaetano Donizetti - L'elisir d'amore - Chiedi all'aura lusinghierThe mini-series of uploads from Wallberg's recordings of Donizetti's two great buffo operas continues :)! Adina and Nemorino surprisingly don't actually have a real "suspended-over-time" love duet (similar to, for example, "Tornami a dir"): their first number together narratively follows Adina as she gently pokes fun of Nemorino's sentimental outpourings; while their second duet, a part of the first Finale, finds both characters a bit angry and confused, so no love duettino there. Only in Adina's aria or, to be more precise, its' cabaletta do we get close to the traditional love scene. But the whole thing works without any obligatory nocturnal duettino. The first duet is quite unconventional, mainly due to the fact that it skips the central andante and, after the characters' statements, plunges straight into an impassioned but slowly moving stretta. The music is touching throughout: especially charming are the final two sections ("si, si, si/no, no, no" and the succeeding section) leading up to the climatic Cs from both characters. Lucia Popp and Peter Dvorsky seems to me almost perfect as, respectively, Adina and Nemorino :). Enjoy :)! Your comments will be appreciated.